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--- ---
title: "Stereotypes and Negative Indexes of the Nubians in Egypt" title: "Stereotypes and Negative Indexes of the Nubians in Egypt"
authors: ["asmaataha.md"] authors: ["asmaataha.md"]
abstract: This paper examines the stigmatized portrayal of Nubians, particularly Fadija and Kunuz speakers, in Egyptian media, focusing on negative stereotypes that continue to permeate these representations. Nubian speakers of Fadija and Mattoki are frequently depicted as unintelligible in Arabic, blackfaced, and confined to lower-class roles. Terms such as *barbari* (barbarian), and *bijtkalem ʕarabi mekasar* (speaking broken Arabic) reinforce social and racial biases, fostering prejudice and discrimination. As a result, some Nubians feel compelled to adopt Arabic to avoid mockery and marginalization. Nonetheless, many Nubians remain resolute in preserving their mother tongues to maintain cultural identity, linguistic heritage, and ideological values. Applying the theory of indexicality, this study explores how both linguistic and non-linguistic elements—including language, dress, occupation, skin color, and character traits—are utilized in media to perpetuate negative stereotypes. It underscores the importance of learning Nubian languages at home to sustain linguistic diversity and preserve cultural values deeply rooted in Nubian homescapes. The study reveals how media producers deliberately create and reinforce negative racial and social indexes, shaping public perceptions of Nubians. It also investigates how Nubian speakers perceive and resist these stereotypes by preserving their language and culture within their households. Nubian homes are presented not merely as physical dwellings but as vibrant embodiments of history, identity, and social structure. While Arabic proficiency is associated with prestige and social status in domains such as education, religion, and media, the paper emphasizes the need for public awareness and counter-narratives to foster positive representations of Nubian language and culture. It concludes that language preservation within the home is crucial for cultural continuity and combating negative portrayals of Nubians in Egyptian media. abstract: This paper examines the stigmatized portrayal of Nubians, particularly Fadija and Kunuz speakers, in Egyptian media, focusing on negative stereotypes that continue to permeate these representations. Nubian speakers of Fadija and Mattoki are frequently depicted as unintelligible in Arabic, blackfaced, and confined to lower-class roles. Terms such as 'barbari' (barbarian), and 'bijtkalem ʕarabi mekasar' (speaking broken Arabic) reinforce social and racial biases, fostering prejudice and discrimination. As a result, some Nubians feel compelled to adopt Arabic to avoid mockery and marginalization. Nonetheless, many Nubians remain resolute in preserving their mother tongues to maintain cultural identity, linguistic heritage, and ideological values. Applying the theory of indexicality, this study explores how both linguistic and non-linguistic elements—including language, dress, occupation, skin color, and character traits—are utilized in media to perpetuate negative stereotypes. It underscores the importance of learning Nubian languages at home to sustain linguistic diversity and preserve cultural values deeply rooted in Nubian homescapes. The study reveals how media producers deliberately create and reinforce negative racial and social indexes, shaping public perceptions of Nubians. It also investigates how Nubian speakers perceive and resist these stereotypes by preserving their language and culture within their households. Nubian homes are presented not merely as physical dwellings but as vibrant embodiments of history, identity, and social structure. While Arabic proficiency is associated with prestige and social status in domains such as education, religion, and media, the paper emphasizes the need for public awareness and counter-narratives to foster positive representations of Nubian language and culture. It concludes that language preservation within the home is crucial for cultural continuity and combating negative portrayals of Nubians in Egyptian media.
keywords: ["Egypt", "Nubians", "linguistics", "stigmatized", "indexicality", "identity"] keywords: ["Egypt", "Nubians", "linguistics", "stigmatized", "indexicality", "identity"]
--- ---
@ -212,7 +212,7 @@ societal and cultural values and ideologies.
This article\'s data spans seventy years, including movies, soap operas, This article\'s data spans seventy years, including movies, soap operas,
cartoons, music videos, and documentary movies. Notably, many of the cartoons, music videos, and documentary movies. Notably, many of the
documentaries have been filmed in people\'s homes. I posit that documentaries have been filmed in peoples' homes. I posit that
producers utilize three resources to portray Nubians in movies and soap producers utilize three resources to portray Nubians in movies and soap
operas: linguistic resources, visual resources, and literary resources. operas: linguistic resources, visual resources, and literary resources.
The examples in this article are derived from well-known Egyptian movies The examples in this article are derived from well-known Egyptian movies
@ -264,7 +264,7 @@ and Tracy, discourse analysts, emphasizing that signaling context and
reinforcing pragmatic signs are crucial for effective communication. reinforcing pragmatic signs are crucial for effective communication.
They define indexicality as "the function by which linguistic and They define indexicality as "the function by which linguistic and
nonlinguistic signs point to aspects of context."[^17] According to nonlinguistic signs point to aspects of context."[^17] According to
them, indexicality is closely related to deixis and they could even be Hughes and Tracy, indexicality is closely related to deixis and they could even be
"sometimes interchangeable," but they consider deixis to be a specific "sometimes interchangeable," but they consider deixis to be a specific
type of indexicality, which helps participants navigate the oral or type of indexicality, which helps participants navigate the oral or
written discourse frame through understanding references. Indexical and written discourse frame through understanding references. Indexical and
@ -333,7 +333,7 @@ media creators. These choices are designed not only to reflect and
reinforce their ideological perspectives, but also to cater to audience reinforce their ideological perspectives, but also to cater to audience
expectations and stereotypes. By perpetuating these negative portrayals, expectations and stereotypes. By perpetuating these negative portrayals,
media producers exploit prejudices and biases to attract larger media producers exploit prejudices and biases to attract larger
viewership and generate higher profits. It also reflects the wider media viewership and generate higher profits. These portrayals also reflect the wider media
assumptions of Nubians' social and political roles in the Egyptian assumptions of Nubians' social and political roles in the Egyptian
society. society.
@ -363,7 +363,7 @@ salient visual and literary features of Nubians that carry second-order
indexes. indexes.
After investigating various Egyptian soap operas and films in terms of After investigating various Egyptian soap operas and films in terms of
character roles, traits, dress codes, and visual features, it is evident character roles, traits, dress codes, and visual features, I argue
that consistent patterns and attitudes shape the use of these literary that consistent patterns and attitudes shape the use of these literary
and visual elements, along with linguistic features. Nubians, in and visual elements, along with linguistic features. Nubians, in
particular, are often depicted in subordinate and inferior roles, particular, are often depicted in subordinate and inferior roles,
@ -582,7 +582,7 @@ that non-competent Fadija bilingual speakers had a tendency to add the
suffix -a to borrowed Arabic words such as *aneeda* 'stubborn.'[^36] suffix -a to borrowed Arabic words such as *aneeda* 'stubborn.'[^36]
Nevertheless, do Nubians, considering all the generations that have Nevertheless, do Nubians, considering all the generations that have
emerged since the early relocations for the Aswan Dam construction in emerged since the early relocations because of the Aswan Dam construction in
1905, still face language proficiency and accuracy issues? Are Nubians 1905, still face language proficiency and accuracy issues? Are Nubians
today merely monolingual speakers of Nubian? Do they still have the today merely monolingual speakers of Nubian? Do they still have the
stereotypical heavy accent of Arabic that is still portrayed in the stereotypical heavy accent of Arabic that is still portrayed in the
@ -644,7 +644,7 @@ with Fadija Nobiin speakers to show how they perceive the negative
indexes attributed to themselves and the Nubian language in the Egyptian indexes attributed to themselves and the Nubian language in the Egyptian
media. media.
# Discussion # Discussion: Results and findings summary
To analyze the discussion data, I coded the discussion data and then To analyze the discussion data, I coded the discussion data and then
created a graph for each question to organize and categorize the created a graph for each question to organize and categorize the
@ -652,11 +652,9 @@ collected data visually. This section presents the study discussion
results, their frequencies, and some of the participants' statements and results, their frequencies, and some of the participants' statements and
opinions. opinions.
![The graph shows the responses of participants regarding the early representation of Nubians in the media.](../static/images/taha/fig3.jpg "The graph shows the responses of participants regarding the early representation of Nubians in the media.") ## Early Nubian representations in the Egyptian media
**~~Figure 3. The graph shows the responses of participants regarding the early representation of Nubians in the media.~~**
The distribution of the first discussion question is presented in Graph 3. As
Graph 3 represents the distribution of the first discussion question. As
Figure 3 reveals there are twenty-one participants stating that the Figure 3 reveals there are twenty-one participants stating that the
early representations of Nubians in the Egyptian media are early representations of Nubians in the Egyptian media are
discriminatory and prejudicial (95%), while one participant indicated discriminatory and prejudicial (95%), while one participant indicated
@ -666,6 +664,10 @@ in Cairo, added that the media, including movies, at that time was
informative about Nubians and their lives. From her point of view, informative about Nubians and their lives. From her point of view,
Nubians in these movies, for example, were portrayed as trustworthy Nubians in these movies, for example, were portrayed as trustworthy
people who are famous for their excellent personal hygiene and honesty. people who are famous for their excellent personal hygiene and honesty.
![The graph shows the responses of participants regarding the early representation of Nubians in the media.](../static/images/taha/fig3.jpg "The graph shows the responses of participants regarding the early representation of Nubians in the media.")
**~~Figure 3. The graph shows the responses of participants regarding the early representation of Nubians in the media.~~**
On the other hand, Dr. Mohammad Ali-Bik asserts that media makers On the other hand, Dr. Mohammad Ali-Bik asserts that media makers
consistently presented a stereotypical exaggerated image of Nubians consistently presented a stereotypical exaggerated image of Nubians
portrayed as less sophisticated and naïve, even though, in reality, they portrayed as less sophisticated and naïve, even though, in reality, they
@ -682,7 +684,8 @@ dramatic narrative that appeals to viewers\' preconceptions and biases,
making the content more marketable. Consequently, media producers making the content more marketable. Consequently, media producers
benefit financially from the commercial success of their productions, benefit financially from the commercial success of their productions,
reinforcing negative stereotypes and continuing a cycle of profit-driven reinforcing negative stereotypes and continuing a cycle of profit-driven
exploitation. Dr. Ali-Bik believes that the government has failed to exploitation.
Dr. Ali-Bik believes that the government has failed to
protect these minorities, including Nubians, and has not taken protect these minorities, including Nubians, and has not taken
sufficient steps to include them in Egyptian media production and media sufficient steps to include them in Egyptian media production and media
channels. This exclusion exacerbates the issue, leaving Nubians channels. This exclusion exacerbates the issue, leaving Nubians
@ -703,7 +706,7 @@ were typical professions occupied by those who migrated to Cairo and
Alexandria in the early 20th century, particularly during the Alexandria in the early 20th century, particularly during the
significant relocations for High Dam construction between 1902 and 1964. significant relocations for High Dam construction between 1902 and 1964.
These early migrations were largely influenced by limited educational These early migrations were largely influenced by limited educational
opportunities and the positive character traits associated with Nubians. opportunities and the well-earned reputation of Nubians as trustworthy, diligent, hardworking, honest, and faithful individuals.
However, Nubians continue to be depicted primarily in lower-class jobs, However, Nubians continue to be depicted primarily in lower-class jobs,
overlooking the distinguished and reputable careers they hold today. overlooking the distinguished and reputable careers they hold today.
Participants noted that among the discriminatory attitudes reflected in Participants noted that among the discriminatory attitudes reflected in
@ -712,6 +715,8 @@ unintelligible or incompetent Arabic and their dark skin. The media
extensively and offensively emphasizes these pejorative images, extensively and offensively emphasizes these pejorative images,
perpetuating negative stereotypes prevalent in Egypt. perpetuating negative stereotypes prevalent in Egypt.
## Have the Nubian representations in the media recently changed?
Figure 4 shows that 55% of the participants believe that there are still Figure 4 shows that 55% of the participants believe that there are still
negative representations of Nubians in the media channels. In negative representations of Nubians in the media channels. In
comparison, 32% think there is a slightly positive attitude in their comparison, 32% think there is a slightly positive attitude in their
@ -742,12 +747,9 @@ the representation of Nubians in movies and soap operas. Discussions of
media platforms such as social media are outside the scope of this media platforms such as social media are outside the scope of this
paper. paper.
![The graph presents Nubians views regarding their portrayals in movies and soap operas.](../static/images/taha/fig5.jpg "The graph presents Nubians views regarding their portrayals in movies and soap operas.") ## Portrayals of Nubians in movies and soap operas
**~~Figure 5. The graph presents Nubians views regarding their portrayals in movies and soap operas.~~**
As shown in Figure 5, there is a total consensus among Nubians that There is a total consensus among Nubians that there is a high prejudice and bigotry in Egyptian soap operas and movies as shown in Figure 5. A sixty-year-old speaker asserts that "not only there is
there is a high prejudice and bigotry in Egyptian soap operas and
movies. A sixty-year-old speaker asserts that "not only there is
bullying and mockery, but also direct insults and slurs on films and bullying and mockery, but also direct insults and slurs on films and
soap operas." Another female speaker in her thirties mentioned that soap operas." Another female speaker in her thirties mentioned that
non-Nubian Egyptians are ignorant of Nubians, their culture, and their non-Nubian Egyptians are ignorant of Nubians, their culture, and their
@ -766,6 +768,9 @@ and attitudes in film and showed productions, including racism,
belittling, generalization, and bias that stigmatize and defame their belittling, generalization, and bias that stigmatize and defame their
reputations. reputations.
![The graph presents Nubians views regarding their portrayals in movies and soap operas.](../static/images/taha/fig5.jpg "The graph presents Nubians views regarding their portrayals in movies and soap operas.")
**~~Figure 5. The graph presents Nubians views regarding their portrayals in movies and soap operas.~~**
Alternatively, Nubian representations in documentary movies are very Alternatively, Nubian representations in documentary movies are very
objective, as shown in Figure 6 below. The widespread consensus objective, as shown in Figure 6 below. The widespread consensus
responses indicate that the documentary movies represent authentic responses indicate that the documentary movies represent authentic
@ -782,12 +787,9 @@ Notable examples include *aj-ga ʤilli* 'Remember me',[^38] uploaded in
2011 and *Sono* 'roots' in 2020,[^39] both of them offering viewers a 2011 and *Sono* 'roots' in 2020,[^39] both of them offering viewers a
more accurate and respectful look at the richness of Nubian culture. more accurate and respectful look at the richness of Nubian culture.
## Depictions of Nubians in documentary movies
![The graph exhibits objective Nubian portrayal in documentary movies.](../static/images/taha/fig6.jpg "The graph exhibits objective Nubian portrayal in documentary movies.") Similarly, music video clips have an essential and promising role in
**~~Figure 6. The graph exhibits objective Nubian portrayal in documentary movies.~~**
Similarly, music videos have an essential and promising role in
maintaining the Nubian language and cultural heritage.[^40] These music maintaining the Nubian language and cultural heritage.[^40] These music
videos are also accessible on YouTube and discuss vital issues such as videos are also accessible on YouTube and discuss vital issues such as
migration, relocation, family bonds, solidarity, religion, and other migration, relocation, family bonds, solidarity, religion, and other
@ -798,10 +800,10 @@ Nubian representations in music videos amounts to 18% compared to the
frequency of the ingenuine representations of Nubians in YouTube video frequency of the ingenuine representations of Nubians in YouTube video
clips. clips.
![The graph exhibits objective Nubian portrayal in documentary movies.](../static/images/taha/fig6.jpg "The graph exhibits objective Nubian portrayal in documentary movies.")
**~~Figure 6. The graph exhibits objective Nubian portrayal in documentary movies.~~**
![The graph shows responses of Nubian participants about their portrayal in music videos.](../static/images/taha/fig7.jpg "The graph shows responses of Nubian participants about their portrayal in music videos.") ## How are the Nubians portrayed in music video cips?
**~~Figure 7. The graph shows responses of Nubian participants about their portrayal in music videos.~~**
Participant 22, a young male in his twenties, explained that Nubian Participant 22, a young male in his twenties, explained that Nubian
music videos have "Touched the hearts and souls of millions of music videos have "Touched the hearts and souls of millions of
@ -818,23 +820,28 @@ culture and preserving both language and tradition. Moreover, they have
had a positive impact on both Nubian and non-Nubian Egyptians, helping had a positive impact on both Nubian and non-Nubian Egyptians, helping
to keep the Nubian music and folklore alive. to keep the Nubian music and folklore alive.
![The graph shows responses of Nubian participants about their portrayal in music videos.](../static/images/taha/fig7.jpg "The graph shows responses of Nubian participants about their portrayal in music videos.")
**~~Figure 7. The graph shows responses of Nubian participants about their portrayal in music videos.~~**
## The role played by Mounir and his songs in promoting Nubian culture and language
While discussing their portrayal in the videotaped songs, all Nobiin While discussing their portrayal in the videotaped songs, all Nobiin
participants referred to Mohamed Mounir, a popular and accomplished participants referred to Mohamed Mounir, a popular and accomplished
Fadija Nobiin singer and actor. With that mentioned, I was eager to know Fadija Nobiin singer and actor. Mounir, who sings in both Arabic and Nobiin
what the participant thinks about his role in promoting and preserving incororates diverse musical genres into his work, including Egyptian,
the Nubian culture and language. Mounir sings in Arabic and Nobiin Nubian, blues, jazz, and reggae. Widely regarded as an iconic artist,
languages integrating various genres into his music including Egyptian, he is affectionately known by his fans in both Egypt and Germany as *il-malik* 'the king',
Nubian, blues, jazz, and reggae. He is considered an iconic singer, and a title inspired by one of his popular plays.
he is known by his fans in Egypt and Germany as *il-malik* 'the king' in Mounir is among the Nubians who were displaced to
reference to a play. He is among the Nubians who had to relocate to Cairo following the floods and the construction of the Aswan High Dam.
Cairo following the floods and Aswan Dam construction. Throughout his He addresses prfound philosophical, social, and political issues throughout his songs.
songs, he addresses various philosophical, social, and political issues. Over his career, he has performed in twelve movies, four TV shows, three plays, and released more than 24 albums.
In total, he performed in twelve movies, four TV shows, and three plays. Of his 350 songs, approximately ten are in the Nubian language,
Mounir has about ten Nubian songs out of 350 and has over twenty-four some of which have been translated into Arabic and are
albums. Some of Mounir's Nubian songs are translated into Arabic and accessible on platforms YouTube and social media.
accessible on YouTube and social media. In addition, he was the lead In 2016, Mounir starred in the TV show titled *il-muɣani* 'the singer,' which aired on
actor on a TV show titled *il-muɣani* 'the singer,' which aired on television and YouTube. The TV show revolves around Mounir's
television and YouTube in 2016. The TV show revolves around Mounir's
personal and professional life, his Nubian heritage, and raising personal and professional life, his Nubian heritage, and raising
important issues for Nubians in Egypt including Nubian forced important issues for Nubians in Egypt including Nubian forced
relocations, the sacredness of the Nile River to Nubians, and various relocations, the sacredness of the Nile River to Nubians, and various
@ -858,7 +865,7 @@ this question, Mounir asserts that he does not
> tragedy the free soldiers committed against the Nubians. They drove > tragedy the free soldiers committed against the Nubians. They drove
> them out of their homes and didn't attempt to preserve their culture. > them out of their homes and didn't attempt to preserve their culture.
As shown in Figure 9, below, the total of speakers who believe that With that mentioned, I was eager to know what the participant thinks about his role in promoting and preserving the Nubian culture and language. As shown in Figure 9, the total of speakers who believe that
Mohamed Mounir plays a crucial role in supporting the Nubian language, Mohamed Mounir plays a crucial role in supporting the Nubian language,
culture, and people is 73% or sixteen participants. In comparison, 23% culture, and people is 73% or sixteen participants. In comparison, 23%
(five participants) stated that his role is only partially crucial, with (five participants) stated that his role is only partially crucial, with
@ -870,7 +877,8 @@ Mounir "deforms the traditional Nubian music by mixing up different
genres and tones, however, he slightly helped in raising awareness of genres and tones, however, he slightly helped in raising awareness of
our language and culture". On the other hand, participant 10, a male in our language and culture". On the other hand, participant 10, a male in
his fifties, elaborated that Mounir "plays a tremendous role in his fifties, elaborated that Mounir "plays a tremendous role in
increasing awareness about Nubians. Non-Nubian Egyptians know some of increasing awareness about Nubians.
Non-Nubian Egyptians know some of
his songs by heart even without understanding them. He further explained his songs by heart even without understanding them. He further explained
that Mounir's music often incorporates traditional Nubian rhythms and that Mounir's music often incorporates traditional Nubian rhythms and
themes, which resonate with listeners across different backgrounds." themes, which resonate with listeners across different backgrounds."
@ -878,6 +886,7 @@ themes, which resonate with listeners across different backgrounds."
![The graph reflects the participants' views about Mounir's role.](../static/images/taha/fig9.jpg "The graph reflects the participants' views about Mounir's role.") ![The graph reflects the participants' views about Mounir's role.](../static/images/taha/fig9.jpg "The graph reflects the participants' views about Mounir's role.")
**~~Figure 9. The graph reflects the participants' views about Mounir's role.~~** **~~Figure 9. The graph reflects the participants' views about Mounir's role.~~**
## The authenticity of the white galabia for men and the blacxk gargaar for women used in music video clips and documentaries
The traditional Nubian clothing is white *galabia*, "a white garment" The traditional Nubian clothing is white *galabia*, "a white garment"
for males, and a black *gargaar*, "a black dress, usually colored for males, and a black *gargaar*, "a black dress, usually colored
@ -888,8 +897,8 @@ headscarves. Discussion question seven aimed to show how the
participants feel about the recurring pattern of clothing authenticity participants feel about the recurring pattern of clothing authenticity
in the production of songs and documentary movies. in the production of songs and documentary movies.
![The picture portrays a woman and man wearing traditional Nubian clothing. Source: Twitter (2000).](../static/images/taha/fig10.jpg "The picture portrays a woman and man wearing traditional Nubian clothing. Source: Twitter (2000).") ![The picture portrays a woman and a man wearing traditional Nubian clothing. Source: Twitter (2000).](../static/images/taha/fig10.jpg "The picture portrays a woman and a man wearing traditional Nubian clothing. Source: Twitter (2000).")
**~~Figure 10. The picture portrays a woman and man wearing traditional Nubian clothing. Source: Twitter (2000).~~** **~~Figure 10. The picture portrays a woman and a man wearing traditional Nubian clothing. Source: Twitter (2000).~~**
The survey found that 77% of the participants concluded that the white The survey found that 77% of the participants concluded that the white
@ -909,20 +918,21 @@ the participants are from urban (Cairo) or non-urban cities (Aswan and
Luxor), age differences, and whether they are native or heritage Luxor), age differences, and whether they are native or heritage
speakers of Nobiin. speakers of Nobiin.
Interestingly, the age range of the five participants who believe that ![The graph compares the distribution of the clothing authenticity utilized in music songs and documentaries.](../static/images/taha/fig11.jpg "The graph compares the distribution of the clothing authenticity utilized in music songs and documentaries.")
**~~Figure 11. The graph compares the distribution of the clothing authenticity utilized in music songs and documentaries.~~**
Figure 11 shows the
frequency of participants' responses to the authenticity of Nubian
clothing representations in music videos and documentary movies. Interestingly, the age range of the five participants who believe that
clothing authenticity in music videos is partially true to life, clothing authenticity in music videos is partially true to life,
amounting to 23% of clothing authenticity in music videos data, is from amounting to 23% of clothing authenticity in music videos data, is from
the twenties to forties and they are all heritage Nubian speakers, born the twenties to forties and they are all heritage Nubian speakers, born
and raised in Cairo. The traditional national Nubian clothing is still and raised in Cairo. The traditional national Nubian clothing is still
used nowadays and is a unique part of the Nubian culture, so visually used nowadays and is a unique part of the Nubian culture, so visually
presenting the traditional apparel in media productions is a remarkable presenting the traditional apparel in media productions is a remarkable
and distinctive feature to honor the culture. Figure 11 shows the and distinctive feature to honor the culture.
frequency of participants' responses to the authenticity of Nubian
clothing representations in music videos and documentary movies.
![The graph compares the distribution of the clothing authenticity utilized in music songs and documentaries.](../static/images/taha/fig11.jpg "The graph compares the distribution of the clothing authenticity utilized in music songs and documentaries.")
**~~Figure 11. The graph compares the distribution of the clothing authenticity utilized in music songs and documentaries.~~**
## Nubian costumes used by music bands on YouTube and TV shows
Moving from the apparel represented and utilized in videotaped songs and Moving from the apparel represented and utilized in videotaped songs and
documentaries, we are now in a position to present the discussion documentaries, we are now in a position to present the discussion
@ -958,6 +968,7 @@ programs.
![The graph shows the communal agreement of the costume unauthenticity.](../static/images/taha/fig13.jpg "The graph shows the communal agreement of the costume unauthenticity.") ![The graph shows the communal agreement of the costume unauthenticity.](../static/images/taha/fig13.jpg "The graph shows the communal agreement of the costume unauthenticity.")
**~~Figure 13. The graph shows the communal agreement of the costume unauthenticity.~~** **~~Figure 13. The graph shows the communal agreement of the costume unauthenticity.~~**
## The portrayal of Nubians in the *Bakkar* cartoon
The last discussion question was dedicated to learning about the The last discussion question was dedicated to learning about the
opinions of the participating speakers in a famous Egyptian cartoon show opinions of the participating speakers in a famous Egyptian cartoon show